Fantasy Writer - Blog Posts

Chapter 1: Present time

This chapter contains themes that may be sensitive to some readers, including:

References to past violenceMentions of death, Light school stress and academic pressure, Brief mention of dangerous creatures and plants (idk how sensitive are yall but hell yeah), Mild language.

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Hagarin's POV After many years, we are finally old enough to leave the institution and live independently in the city. My sisters and I are still together and living under the same roof. I also saw several changes in ourselves as we grew up.

And today, both Hanari and I are 15 years old. We spent years studying within the facility and never had the opportunity to attend a regular school. Now that we are living alone, we can finally attend school. I considered staying at home and do houseworks while my two sisters continue with their studies, but Hanari insisted that I should as well.

We all know that education will always be important in many aspects in lives. 

In the world we live in, survival demands sharp minds—not just sharpened by magic, but by the brutal chaos we humans created for ourselves.

We’re still human, I suppose. Just tainted—twisted by the very magic that makes me wonder: is this still humanity, or were we meant to become something else entirely? 

The world has grown far more advanced ever since magic spread across it. Nothing feels impossible anymore. Some have forgotten where they came from. Others cling to old traditions and beliefs. And then there are those who simply don’t care.

Maybe that’s why the world feels so loud. Everyone’s different now, and no one seems willing to accept what we’ve become.

Look around, and you might see flying cars soaring through the skies of this city. In another, people ride enchanted brooms as their everyday transport. Everything and everyone is different—blended together in a strange mix of magic, machines, and habits.

But here…

I live in a city considered the richest in the world. The nation itself—Aloy—owes its wealth to vast oil reserves. Oil money built everything here. Because of that upper hand, nearly everything is accessible. Magic, technology, luxury—you name it. In Aloy, nothing feels out of reach.

What this city values most, though, isn’t oil—it’s metal. Preserved, traded, revered. I think it’s because the city was once ruled by a god whose very touch could turn anything into metal. Not figuratively—literally. Stone, wood, even flesh. Everything he touched became metal.

And that kind of power leaves a mark. On the land, on the people, on the way we see worth.

But that might not matter now. What matters is that every morning, we follow a certain timetable. I get up early to cook our breakfast, and Hanari and our younger sister will get up early to prepare for school. When they're finished, we'll all enjoy breakfast together. After that, Hanari will wash the dishes as I prepare for school, and our younger sister will assist in putting the plates back in the drawers.

That routine goes on and on everyday.

Sharing what has just happened at the school we attend is stressful, at least for me and Hanari. Our younger sister is stress-free since she is still young and a kindergarten student.

Lately, we have been learning many magic spells, doing scientific experiments, studying a bunch of literature and theses, and many more.

I can say that studying magic spells and doing scientific experiments will help us discover what elemental power we possess.

As I listen to my journalism teacher, I'm fighting the urge to fall asleep. She was now discussing the significance of magic, particularly how it began.

"Magic is important to everyone. No matter how unfair or how much chaos it brings to our lives." she went on to say. "And, in the beginning, the use of magic was legalized as a weapon to defend ourselves, but I have to warn everyone not to be such a prick when it comes to using magic." She giggled, went to the board, and began writing.

"To be exact, 8290 years ago, magic was discovered by a witch," she said, making my focus adjust to her as I listened. I was intrigued. "That witch was none other than Victoria Lemioska." It intrigued the whole class. "Also known as; Victo. Now that you all came to a realization, in all places in the world, her face, and statues are everywhere. As we are all deeply connected with her discovery of the magic," she said before turning to us once again.

"Since Victo is a witch, she first discovered a spell to make a withered plant come back to life." The teacher pulled out a withered rose and used magic to bring it back to a healthy life while it floated in the air. "Victo discovered that spell and named it Resuscitate."

"As time passes by, more spells are discovered by her."

"You can learn it in your spell class."

"But as a journalist, I have seen her notebook filled with magical spells; half of it is forbidden to be used as it casts irreversible damage to anything." She snapped her fingers, making an image of the notebook appear in the air.

We all gazed up, awestruck. It's quite a hefty notepad. Though the object is significantly tarnished due to its age, I can see that the writing on the notepad is still legible and readable to anybody. However, I was attracted by the prohibited magic. I feel that the banned spells are not included in the magic books that are handed to us.

when the image disappeared and the rose landed on her desk. "The notebook was located in our national museum, the Metallica Museum." Our teacher was about to speak again, but then a student raised their hand.

"Ma'am, what about the five major elements?" A student asked.

"The five major elements were discovered by Baili Hermin," our teacher stated. "He was also a journalist like me, and of course, being a journalist requires traveling around the world to explore many things."

"Fun fact, he also used to work under the branch of media analyst, wherein I also work." She proudly claimed. "Moving on, it may sound unrealistic, but Baili met Victoria in a desert. Baili was almost attacked by a lion, but Victo blinded the lion with a spell and took Baili to a cave."

"There's proof, no matter how unrealistic, that Baili's diary was found, and it was also in the museum. He documented his whole journey of travelling around the world, and the most highlighted part of his diary was the discovery of the five major elements."

"He discovered it because of Victo. Baili wrote everything about what Victo said about magic spells, making it more believable that magic spells exist."

"When the article reached many people, the majority of the people started to panic, and out of panic, everyone else planned to execute Victo. The reason is that Victo is nothing but an outcast in the world; possessing magic is absurd and unbelievable."

"And yet, we are here, prone to using magic," our teacher said.

"The elements were discovered when Victo was executed; a light escaped from her chest, making it explode through the sky. It landed on humans, animals, and most importantly, plants."

"Which resulted in why we have species in the forest that are completely dangerous and can harm your life, for example, the flower Rafflesia."

"Before the light landed on that flower, it's just the biggest flower in the world and has a foul odor to attract insects to kill."

"Now it still does its purpose, but it has the ability to stretch away from its position and follow you everywhere in the forest." Our teacher deadpanned making the whole class laughed.

"To make this quick, the five major elements landed on five humans, and those humans are now known to be the gods of those major elements." Our teacher sighed. "We are all aware that the most powerful and rare element to possess is time; in other words, you can control the time, predict what's going to happen, and there are many other signs to feel if you possess one."

"Second is nature."

"Remember, never mess with nature itself, as it was the one that gave us a reason to live in, to breathe in. The ability to possess nature grants you access to control plants and animals."

"But isn't changing the weather also a part of it?" A student asked. "Only the god of nature can do that." Our teacher chuckled. "Come to think of it, the God of Nature has a 15-year streak of absence. Many say that her aura is still around, but many also believe she has passed away, and it's just nature speaking," the teacher sighed.

"Moving on, fire is on the third."

"In my study, fire is always predicted to be possessed by someone who has such a boisterous personality, while the ice one is someone who is...restrained. However, this is just a myth. It is still mostly believed that no matter what personality you posses you'd still get whatever." our teacher summoned her book and it was probably her personalized book. It has a lot of pages and everything that was written in that book was her understanding on how to predict which element do a person possesses.

"ah, here it is." She placed her book on the desk and started reading.

"The element of fire is known to be the most fascinating, exquisite and ravishing elemental of all. It was asserted as one considering a klatsch of people are indulged to play with fire even if it only steers to harm."

"and by all means of harm, it can also be describe as destruction." she finished making the whole class whisper among themselves. "But that doesn't mean to treat someone with disrespect just because they hold that elemental power." She sighed.

THIRD PERSON'S POV

The teacher noticed the change of atmosphere in her class and sighed. "You all probably have forgotten my name but once again, my name is Renée and I hope you all learned something today." Renée glanced at her watch on her wrist.

many students started to protest on her from leaving. They still have a lot of questions with the history but that will all be answered at the next time they see each other again. Renée only stifled a chuckle at the frustrated expression of their students. Curiosity truly made their heads run wild.

"An advance reading on your textbooks won't hurt. Simply just turn your page to chapter 5 and all of your questions will be briefly answered as it provides descriptive explanation to everything." Renée finally exit the classroom.

Once she did, the students in her class opened their textbooks to discover a lot more information. As Renée exit the classroom, she went to the elevator to venture her way to her next class but she was greeted by another teacher; Kyla.

"I see you've gotten your students all pumped up. Quite a headache to deal with." Kyla scoffed as she pressed on the buttons. It only made Renée shrug. "Don't act like you aren't as curious as them when you're at that age." Renée retorted to only make Kyla chuckle and let Renée's tone slide for now. "I assumed you've found someone with a rare element in this class. Hmm?" Kyla's eyes watched Renée's expression from the reflections of the elevator.

"It was such a rare occurrence indeed." Renée remembered Hagarin. "Her eyes are different from the rest. The colors were a lot more dull than the others making it more accessible to assume that she was an extraordinary person." Renée thoughtfully answered. "And this by this she you are referring to, who is she?" Kyla averted her eyes from Renée and focused on the door as it opened. a small ding was heard as they reached the floor. Renée walked ahead of Kyla but spoke before leaving. "Hagarin."

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2,022 words.

Chapter 2

This is all really useful

How to Kick Ass at Worldbuilding

Worldbuilding. You either love it and spend all your time dreaming up rules rather than writing, or you hate it and try your best to avoid it despite writing fantasy or scifi.

Or you are in the middle, which is where you should be. You have a healthy appreciation for what makes worldbuilding so special, but you also don't obsess over it.

Worldbuilding does not need to be complicated to be effective, as I've harped on a few different times now. So how do you strike the right balance? Let's take a look.

As always, this is just my opinion based on my own efforts creating The Eirenic Verses. You can disagree and that is fine. However, I hope you'll consider thinking about what I offer here as you craft your own world.

A lot of what people focus on when worldbuilding is not what the audience cares about.

Very few people like to read a book littered with random terms they have to keep track of. We want to build a unique world, but we also don't want to throw such an extreme amount of lore at our readers that they tune out.

When worldbuilding, we want to consider the cognitive load on our audience. This is how much information the reader needs to remember throughout your story so that they can follow along.

Cognitive load includes things like:

Character names and appearances

Relationships between characters

Place names, such as cities and countries

Unique mythological creature or fauna

Backstory, including mythology and folklore

Language names

The general plot (who is the protag, who is the enemy, etc)

Magic usage (who has the power, how they acquire it, any conditions it comes with, etc)

Power dynamics between characters, countries, and so on

Political systems, if included

Even in the most barebones fantasy story, this is a lot to remember. As such, we need to consider what is most important for our readers to generally understand the plot and emphasize this, letting the rest serve as background information that is not quite as essential. The more emphasis we put on something, the more we direct a reader's attention.

At the same time, we want to create a world that feels lived-in and interesting so that readers want to know more. How do we do this?

Consider what you think about foreign countries in our world.

Most of us will have a general concept of a country but only will think about the specifics if it is currently relevant.

Let's take Japan for an example. (I'm a bit of a weeabo, okay?) Here is what I personally think about when I imagine Japan, in order of what I consider important.

Japanese cuisine (sushi, ramen, ochazuke, sake, lots of rice dishes, seafood)

What the people are like according to my own stereotypes/cultural perceptions (polite, quiet, respectful, hardworking, punctual)

Climate and geography (temperate, island country, volcanos, mountains, beaches)

Unique flora and fauna (cherry blossoms, flowers, Nara deer, giant salamanders, pretty birds)

General landmarks, but not necessarily specifics (castles, temples, busy cities, red bridges, torii gates)

Clothing styles (kimonos, school uniforms, business suits, kawaii fashion)

Cultural icons (samurai swords, samurai armor, Shinto shrines)

General overview of the history (samurai, daimyo, feudal system, bushido, Meiji restoration)

Language, but not necessarily specifics of the language (Japanese, kanji, hiragana)

Religion (Buddhism and Shintoism)

Folklore (ghosts, kami, tsukumogami, evil spirits)

Any festivals I might know of (cherry blossom festivals, moon viewings, Obon)

Your own list may have these in a slightly different order, but it's probably what you most think about.

Notice that you will likely not think about these things:

Political system

Specifics of the language

Interpersonal hierarchies

International relations

Specific landmarks

Specific historical events

Famous figures

So why do we think like this? Because in real life, we also have a cognitive load that we must balance with things that are more relevant to our everyday lives.

If I tried to memorize specific details of every country in the world, I would go insane. I have better things to do, so I create a general image of a country based on pictures I've seen, people I've met, food I've eaten, and so on. You do the same thing.

To be realistic, you do not need to be specific. You need to approach worldbuilding the same way people generate their world knowledge: basic concepts and visual imagery.

What to emphasize in worldbuilding

So let's break this down on what you want to think about when creating a world.

Food is one of the most accessible elements of a culture.

Food is how many people learn about different cultures for a simple reason: if you have the ingredients, you can cook food from anywhere. You don't need to be introduced to it by a native of that culture.

Plus, humans tend to like food. We kind of need it to exist.

Think about these things when considering national cuisines and eating habits of your fantasy world:

Do they have spicy food? Bland food? Heavy hearty dishes?

Is most food served hot or cold?

What kind of spices and vegetables do they use? Root vegetables, beans, cinnamon? Salt?

What type of meat do people eat (if any)? Seafood, poultry, beef, pork?

How is bread prepared? What is it made of? (Look, nearly every culture has some sort of bread, we love carbs)

What about pasta? Does that exist here?

Are desserts important? What are they made of?

What kinds of drinks do they have? Coffee, tea, milk, lemon water?

Is alcohol a thing? What kind of alcohol? How often do people drink? Are there bars?

How often do people eat, and when? Do they have the typical three square meals, or do people eat kinda whenever they feel like it?

Do people prepare food at home or are there restaurants?

Are communal dinners common?

Cultural stereotypes provide tension and can help craft your characters.

Are people in your culture known for their boldness? Their cunning? Their resilience? Their standoffishness? Their fiery tongues, or their passive-aggressive jabs?

You can play with a lot of this, either confirming or denying the assumptions through your characters.

Landscape gives us an idea of where we are and what to expect.

Landscapes are some of my favorite aspects of worldbuilding rather than intricate magic systems and political concepts. Readers get a good sense of environment when you focus in on landscape and how it impacts the characters. You can also build a culture off your landscape, such as how certain geographic features may influence peoples' attitudes and lifestyles.

For example, a coastal landscape will have beautiful views of the ocean, sparkling beaches, and maybe tall cliffs. Being a fisherman may be seen as an honorable but dangerous profession. People might cliff dive for fun.

Mountainous areas may produce cultural enclaves, especially in a fantasy setting where everyone is more isolated. One mountain town may have a completely different vibe than the town over.

Flat, wide-open plains mean people can spread out, but since moving from one place to another is easier, there may be a more cohesive culture.

An area with caves will have a sense of mystery and fear; there may be a lot of superstitions about the caves.

A swampy area can also be very mysterious as there are so many places to hide out and a lot of dangerous animals.

Climate influences how people behave.

Hot climates make people need to conserve energy, so they may take afternoon naps in the worst of the heat. They might value relaxation and calm over industry and productivity because bro, have you ever tried to even walk outside in the Florida heat? Shut up and get me air conditioning.

Cold climates make people need to stay active to stay warm, but they can also produce a sense of isolation. Think about how outdoorsy the Finnish are but how they looove their personal space.

Temperate climates are probably a bit more even-tempered, but as weather changes get more extreme, people will vary their behaviors based on the seasons: spending more time outdoors during summer but holing up during winter. The culture may emphasize hospitality because people need to rely on one another to survive, and they have time to meet their neighbors during the summer.

I am very partial to temperate climates, being from the American Midwest. We're known for being nice and hardy people. You should come visit.

Flora and fauna help the world feel real.

When I worldbuild, I often base my cultures on a real place and what kinds of animals or plants are there. For example, Breme is based on Mongolia so I have herbivores, big raptors, and a lot of grasses.

A warm climate will have lots of reptiles. Sea life will be important in a coastal area. Swamps might have big predators. Mountains will have hardy creatures that can climb. A savannah area will have huge herbivores and fast, hungry predators.

General cityscapes or villages are great for providing a sense of place.

Do people build low spread-out cities or tall rickety homes? What kinds of building materials do they use? Are there lots of markets, bars, apocetharies, temples or churches? What do homes look like here? What are any unique architectural features?

This gives a sense that we are in a different but specific world that has a rich culture.

Clothing tells us what people prioritize.

Cold places will have lots of layers. Hot places will have soft draping outfits or very skimpy outfits. Natural materials that are easily available will make up the majority of the clothing in a fantasy setting. You wouldn't have people wearing cotton in a place that doesn't grow cotton. If there are lots of sheep, people will wear wool. If there's lots of cattle, people will wear leather.

You can also think about adornment. Is jewelry common? What type? Why is it important? Is it a status symbol, a way to keep wealth, or perhaps ways to honor ancestors?

Cultural icons demonstrate what the society values.

A warlike culture will prioritize weaponry. A pacifist culture will think about art and music. A nomadic culture may have a rich oral tradition. An agrarian society will emphasize farming rituals.

Think of a few things that symbolize your society, whether that's musical instruments, weaponry, textiles, statues, or jewelry. Consider how those traditions could have come about and why.

Folklore and mythology offer an offbeat but important sense of history.

Folklore is often tied up with many other factors of a society, such as their religion, landscape, history, and overall values.

For example, the Japanese believe items survive for over a century gain a kami, or spiritual essence. This shows that the Japanese cherish their long history and their material culture, and it also infuses their Shinto belief into folklore.

You can also think about cryptids or ghost stories. Isolated and difficult terrain often makes people think of monsters lurking in the woods. Areas with lots of caves will have myths about what is down there. Coastal areas develop myths about ghost ships.

Idioms, turns of phrase, and gestural quirks tell us more about the culture without overwhelming readers.

This one can be more challenging (I haven't done much with it) but if you can manage it, you'll have a very rewarding story.

I'm not talking about making a whole new language here, but rather about idioms and turns of phrase. Think about all the fun idioms that English has, like "beating around the bush" or "break a leg." Without cultural context, you can't understand them, so you'll have to incorporate an explanation without actually stating it.

For example, you can have a character say "the horses are running fast" as they look out the window to see a sheet of rain. We can guess from this that the idiom is rain = horses, so lots of rain = fast horses. We'll understand from this that this culture probably loves horses; maybe they're a formerly nomadic race.

Gestures, like whether people give thumbs-up, point with their index, or bow with their hands to their chest all give us a feeling of the culture without being overwhelming.

What not to emphasize

Now that we've gone through some things to focus on, let's talk about what you don't need to make up for your world.

A whole-cloth language

Please, you don't need to create brand new words for things that exist in our world. You can reference a language, but do not make people memorize nouns they don't need.

Don't even make up the language at all. Say there's a language and then write the rest of it in English.

Made-up languages are irritating for readers because they want to focus on the characters and plot, not mysterious words they need to translate.

It's possible to make languages interesting without going into specifics. For example, the Bas-Lag trilogy by China Mieville has a species that communicates in clicks but the species can also learn human languages if necessary. There's a language called Salt that's basically the common tongue blended from everything else.

Do we need to know how Salt works? No. Doesn't matter. We're told someone is talking in Salt, or they're learning it, or they switch to it when meeting someone from a different culture. That's plenty.

Specifics of a magic system

You're not going to instantly summon up all the rules of magical realms when you visit a new country; you might not even know them. And your readers won't be too interested in them either.

For example, in The Eirenic Verses, I have High Poetry. Readers will come to know that this was a magical system where certain people given the power can recite a poem and whatever they speak comes true. Every poem can only be used once.

It was given by the goddess Poesy to a specific woman, Saint Luridalr. It was so successful that the goddess started giving it to more women and a whole religious system arose.

I don't need to explain exactly how it works because no one cares. Someone makes things happen by coming up with a poem: that's about it. We don't need to question whether certain rhyme schemes or meter or punctuation impacts anything. That's too technical.

If you've got pages and pages of notes on all the intricacies of the magical system, you have too much. Pare it down.

Political systems

Unless you're writing a fantasy where politics are absolutely critical to the plot, you can just reference the political system in passing and maybe elucidate a few key elements, like who the leader is, how power is transferred, etc. You don't need to go into all the specifics because most people are not going to care.

Hierarchies

Please don't lay out the entirety of an army's ranking system or how someone is promoted. Make up something consistent and stick with it, but don't go into exhaustive detail. People aren't going to sit and question whether a captain is above a lieutenant or how long it takes to become a general.

We'll know that a general is a big deal if the characters make it a big deal. We'll know who the head of the army is but we don't need to know how they got to that position.

Exact city layouts

You do not need to tell us where everything is in relation to one another. Tell us characters are moving from one landmark to another. You could say "this is across a bridge, this is up in the mountains, these buildings are right next to one another, these two buildings are in opposite ends of the city." That's plenty.

If somewhere is very far away, just show them travelling there and how long it takes. You don't need to measure it in miles or leagues or whatever. We will guess that if it takes them a week to walk there, it's pretty distant.

Economic systems

We just need the basics here: mercantile, capitalist, bartering, etc. We don't need to know if the coinage is pegged to a certain precious metal or if people invest their money or how people are paid. That's boring.

In my world, I have two currencies: quillim for Breme and barnals for Sina. What's the exchange rate? I don't know and don't care. How much is one quillim worth? One quillim is not a lot but 2,500 quillim is. How much is the average person paid? Doesn't matter. Do people keep lots of coins on them? No one is asking that. It's not important.

Transit systems

Tells us if the roads are cramped, spread out, nonexistent, poorly maintained. Tell us if there are road blocks or toll booths. Tell us if there are roving bandits. The more physical and sensory you can get, the more real it feels.

Few people care about the specifics of even their own transportation system. I know highways are fast, I know tollroads are expensive, I know parkways are pretty, I know some cities have weird turnabouts and dead ends. That's exactly what I need and what I care about.

That's what I've got for you today. If you liked this, maybe you'll consider checking out The Eirenic Verses series, which follows most of these principles.

I've been told that my fantasy writing is very approachable, even for those who don't usually like fantasy, specifically because I don't get too insane with my worldbuilding. So maybe you'll enjoy it too!